After the beef-and-cheese skewer, Skybound Games and Quarter Up have invented the sashimi burger. Invincible VS ticks all the boxes of a true *kusoge*—a glorious trash game—featuring 3v3 matches, bizarre physics, broken mechanics, and a roster of characters that make absolutely no sense. Almost against your better judgment, you find yourself enjoying the experience—mashing your controller in every direction to take flight and obliterate your opponent's health bar through sheer chaotic button-mashing—all while sensing that even if you *did* master the mechanics in depth, the end result wouldn't be much more coherent. While I certainly wouldn't recommend pursuing an esports career in this title, it remains a solid choice if you’re a fan of *Invincible*, or if you simply enjoy chaotic, generous fighting games that deliver plenty of bang for just a few button presses.

According to Aphelion, it all comes down to hope. If that were truly the case, Don’t Nod’s latest title would undoubtedly reach soaring heights. But much like its characters, the game must confront the harsh reality. It is not always an easy feat to reconcile narrative intensity with video game mechanics. On the narrative front, it delivers—despite a certain lack of originality. Yet, in many other respects, Aphelion lacks the precision that would have allowed the title to leave a lasting imprint on players' memories—and not just those of narrative game enthusiasts. It is thanks to its realism and its handling of emotions that it nonetheless succeeds in offering a rewarding journey through its own vision of space. It is an enjoyable space vacation, featuring a few particularly memorable moments—though the memory of it will surely eventually fade with time, much like the silhouette of a planet on the horizon.

Does Sol Cesto frustrate me? A little bit—since despite all the tweaks one might make to the probabilities, the luck factor remains absolutely paramount, and—unluckily for me—I have none whatsoever. Does that make Sol Cesto a bad game, though? Absolutely not. The gameplay loop is still very cleverly designed to be addictive, and the art direction has a charm of its own, featuring a well-executed blend of the zany and the macabre. Moreover, the very fact that the game puts us through the wringer is precisely what makes it so captivating, compelling us to experiment and uncover its secrets.

Even reviewed under punishing conditions and burdened with a technical performance that H. P. Lovecraft would probably have described as “indescribable” at least a dozen times in the same chapter, something still compels us to focus on the strengths that emerge from Cthulhu: The Cosmic Abyss. A diligent and conscientious student of an enduring literary mythos, the game by Big Bad Wolf skillfully lines up its references, but is unlikely to sweep connoisseurs off their feet with a narrative that—even when set in the future—lacks a bit of madness and surprise. It nonetheless remains an investigative game with a gripping atmosphere and rewarding mechanics, and deserves credit for the bold choice of placing its full trust in the player’s powers of deduction.

More "cinematic" than "platformer", Replaced is visually scrumptious but simply feels bad to control. Ultimately, it does feel like the gameplay was conceived backwards from the visuals. As mean as it sounds (and I don't like beating on indies), the experience might genuinely be best enjoyed on YouTube for less jank-tolerant folks.

Life is Strange: Reunion manages to sidestep the fan service that Max and Chloe’s return could have leaned into, delivering a story that holds up well—and, above all, a rather satisfying conclusion for both heroines. Deck Nine still struggles to fix some pacing issues in its storytelling, and Max’s time-rewinding powers feel somewhat underused, but the overall experience remains a positive note on which to say goodbye to this universe. Let’s just hope no one gets the bad idea of giving it a sequel.

Super Meat Boy 3D has strong bones, but gets lost in the three-dimensional sauce. You will die 'n retry often, for sure, with a bunch of tight levels and clever secrets to conquer for true old-school masochists, but too many deaths - and so, too many retries - stem from perspective issues which create artificial difficulty. Sluggerfly's game feel shines when the studio actually focuses on delivering a clever 3D experience rather than translating 2D ideas into a game space with depth, which induces an excessive margin of error in every movement. Do try the demo version before buying.

Somewhat like a cuter Little Nightmares, Darwin's Paradox takes the player through a series of charming vignettes. But this adventure has teeth. Imperfect controls and pixel-perfect jumps sometimes create unnecessary friction. Still, the fluid animation style and diversity of dioramas make this title worth a try.

Make no mistake: Screamer is anything but an accessible game. Its unique, meaty gameplay demands a significant amount of time to master; its difficulty spikes—at times unfair, with visibility issues in certain overly cluttered stages—put players to the test; its progression mechanics are also rather shallow, and its stunning cinematics are few and far between. Nevertheless, it remains a racing title that dares to be different—one that frequently succeeds in hooking, thrilling, and intoxicating the player through the unique stylistic exercise it offers. It is a game of drifting and vehicular combat situated at the crossroads of a ruthless *Ridge Racer* and a brute-force *Burnout*—generous in both dialogue and tracks, and punctuated by an excellent soundtrack and art direction. Lacking any currency system or car upgrade mechanics, Screamer still falls short on structural depth to truly ascend to the ranks of the genre's greats; perhaps future updates will make the difference. In the meantime, Milestone’s offering is more than laudable, proving that the Italian studio can—and should—break free from the perpetual confines of pure simulation: flirting with arcade-style gameplay, science fiction, and Japanese animation really does pay off.

Crimson Desert is the absolute definition of a massive disappointment. It’s a Ferrari body with a lawnmower engine under the hood. Pearl Abyss tried to please everyone and ended up pleasing no one: Elden Ring fans will be driven mad by the clunky combat, Witcher fans will be bored to tears by the lack of depth, those looking for a world as organic as Breath of the Wild are in for a rude awakening, and the general public will struggle with the abysmal UI and unwarranted difficulty spikes. Riddled with technical issues unacceptable for a blockbuster of this scale, and weighed down by dated writing, Crimson Desert is on the verge of a total systemic failure. The hype train has well and truly derailed. See you in a year, after 150 patches and a mountain of DLC, which, of course, are already in the works.

Despite some great ideas and undeniable skill in creating a coherent and engaging world, Greedfall: The Dying World will struggle to be the saving grace for Spiders and Nacon. It never truly escapes its major structural shortcomings (which have only worsened since Greedfall). Its utterly forgettable combat (due in large part to its disconcerting simplicity) fails to generate any real enjoyment. The worst part is that it's hard not to see in this sequel (which isn't really one) the skeleton of a good game. There's soul there, at least. But because of its fragmented structure, outdated design choices, and overall flawed presentation, the title chosen for Spiders' latest release might very well end up being sadly prophetic.

Marathon makes excellent use of Bungie's strengths, whether in its narrative, visuals, or gameplay. But despite this polished presentation, it remains a relatively conventional extraction shooter, and the few attempts to differentiate it—particularly the fast-paced and challenging combat and the hero system—fail to truly convince. There's no doubt the game will find the dedicated community it deserves for its undeniable qualities, but following the vibrant Arc Raiders unfortunately makes Marathon somewhat bland for the average player.

For all the beautiful moments of art direction and atmosphere it offers, the charm of Fatal Frame 2: Crimson Butterfly Remake is too often broken by combat hampered by arbitrary new mechanics that drag on and make the experience frustrating and tedious, without the player's skill being able to do anything about it. Aside from the less-than-optimal fluidity (we'd forgotten what 30 frames per second was like), Koei Tecmo has clearly spared no effort in modernizing this installment in both substance and style, giving it a new depth that is reflected in its genuinely solid length. The side quests and new exploration mechanics are among these worthwhile additions that tip the scales in its favor. But despite its 25 years of existence, Fatal Frame still seems to have some work to do before finding the balance that will allow it to join the ranks of the great names in horror games.

With its consistently sublime art direction, Wishfully needed to focus primarily on its gameplay. And so it did; the studio delivers greater variety and depth in its gameplay, and we even wished for more sequences in this vein, as they effectively break up the very linear structure of the first game. The story greatly enriches a universe that was still quite cryptic, but the ending, which takes the form of a "to be continued," leaves players wanting more and even a little frustrated.

Pokémon Pokopia met our expectations, even if it's not perfect. It does have a repetitive aspect inherent to the genre, which won't appeal to everyone, and some technical issues that can become annoying over time. However, if you enjoy relaxing atmospheres and don't want to overthink things, there's a good chance this game will satisfy you if you're willing to pay the price, because in terms of playtime, you'll definitely get your money's worth.

For the very last (?) ride in Raccoon City, Resident Evil Requiem delivers a healthy blend of survival-horror tropes and references from almost every main episode of the franchise. Alas, this does also mean its edge is sometimes dulled by an avalanche of cameos, winks at the camera, and even more ridiculous twists than usual. While the Rhodes Hill center is one of the best Resident Evil locations ever put to screen with gorgeously detailed zombies and a tried-and-true approach to level design, the game does suffer from "Resident Evil syndrome" as quality, care and precision start waning as the adventure progresses. Still an essential buy for survival-horror enthusiasts.

Neither sacrilegious nor godly, God of War: Sons of Sparta is a pretty decent metroidvania romp. Mega Cat Studios wears its Blasphemous influence on its sleeve with enchanting pixel art landscapes, crunchy combat and secrets galore, yet, at launch, the game is brought down by bugs and performance issues. Wait for a few patches.

Styx: Blades of Greed is a real moral dilemma. It’s the quintessential example of a game you desperately want to love, yet it constantly gives you reasons to hate it. On one hand, Cyanide is making the most of a fantastic character and a "pure stealth" philosophy that we want to support with all our heart. On the other, the finished product feels rushed and unpolished, riddled with game-breaking bugs and technical performance that is simply unacceptable for 2026…We’d love to be lenient with this AA budget title, but when a game physically prevents the player from progressing, love just isn't enough. Styx deserved better than such a technical train wreck. So, can we recommend it? No. Can we suggest you wait for a massive amount of polishing before diving in? Probably.

Despite a scuffed and unbalanced story, repetitive solo "open world" missions and numerous gameplay issues, My Hero Academia : All's Justice remains a pretty fun romp for anime fans when played with friends. Buy on sale?

“A mature work” is probably a phrase you’re tired of hearing. Yet, Reanimal certainly gives that impression at first glance. Despite its characters, the game isn’t childish at all. With its monstrously disturbing atmosphere, deeply meta gameplay, and art direction worthy of the most terrifying nightmares, Reanimal has something special and does exactly what you’d expect. That said, it remains a game that hasn’t quite matured in terms of its execution. Conventional and rarely transcendent, Reanimal’s gameplay lacks that little something extra to elevate it to the top. So, while it’s certainly a game that’s mature for its age, it still has a few things to learn to truly join the ranks of the greats.

If Yakuza 3 Remastered was kept readily accessible, then Yakuza Kiwami 3's mistakes wouldn't be such a big issue. But RGG Studio has decided to erase the original version in favor of a weaker, less inspired remake, with an outright stupid twist ending and watered-down gameplay (despite a few enjoyable side activities along the way). The Dark Ties gaiden game offers an interesting look into Mine's backstory and would be enjoyable as a budget title on its own, but the overall package is found lacking, to say nothing of Teruyuki Kagawa's involvement and RGG Studio's silence on that matter. Yakuza feels like a headless cash cow now. Let's hope Stranger Than Heaven strikes gold.

City Tales: Medieval Era is likely a pleasant proposition for newcomers to the city-builder genre—but that also turns out to be its biggest flaw. By removing any form of penalties or constraints in the expansion of our city, the entire game can be played on autopilot without the slightest concern. This is all the more regrettable since some of its gameplay mechanics, such as companions, are actually quite enjoyable.

In its eagerness to move beyond meritocracy, Dragon Quest VII Reimagined forgets the value of hard work. Absolutely charming in its polished and highly successful graphics and its writing, which remains relevant despite its age, this remake-that-isn't-quite-a-remake suffers from an excess of leniency, to the point of neglecting game balance, which is fundamental to the enjoyment of the game. The challenges of modernization are sometimes difficult to overcome, and while we commend the work done on the combat and job systems for this return to the spotlight, the iconic DQ7 would have benefited from retaining at least some of its original rough edges.

Cairn is a good game that masters its subject matter and mechanics, as well as its raw emotions and the authenticity of its narrative. For some, it will even certainly serve as a pretext for self-reflection. But there's a catch that leaves a bitter taste: it could have been excellent. The Game Bakers had all the ingredients to cook up an exceptional dish, but the whole thing is undercooked, and a few clunky bugs and other missteps spoil the mountain adventure. This is the strange feeling that Cairn leaves you with. After this exhausting climb on every level, it gives the impression of being both on top of the world and utterly defeated. And to think we were just a pickaxe swing away from becoming one with the mountain.

If reading this review gives you hives, it's no coincidence: that's exactly the feeling the author experienced for much of the time spent playing Trails Beyond The Horizon. It's high time for Falcom to have a wake-up call regarding its flagship series: by constantly offering the same structure (whether narrative, gameplay, or even exploration), even the most dedicated players will inevitably sigh at the inherent redundancy of this new installment, which simply rehashes an already worn-out formula. Boredom prevails over excitement, at least during the first long half of the game, and the multitude of characters paraded for the sake of fan service won't be enough (even for seasoned fans) to maintain interest in the long run. If you manage to get past the thirty-hour mark, a good game is hidden somewhere within. But this is a recurring issue that we wish we didn't have to point out anymore: once again, yet again, another Trails game only truly takes off after dozens of hours of gameplay. Perhaps it's time to return to the fundamentals: streamline this world and refocus the plot, and you'll have something worthwhile. As it stands, however, on the horizon of the Trails series, this is once again a bit of a slog, despite a story that is far more satisfying than that of its predecessor.

With its strong art direction, cohesive world, and well-balanced difficulty, MIO: Memories in Orbit proves to be a very satisfying experience. Its deliberately slow gameplay won't appeal to everyone, especially the combat, but it's justified and becomes quite engaging, making you want to invest the ten or so hours needed to complete it. It's a solid little Metroidvania that has a lot to offer, despite a few flaws and a finale that we had hoped would be more spectacular.

Terminator 2D : No Fate is a splendid 16/32-bits throwback, no doubt, but the very short runtime and lack of T-800 sequences are baffling while advertised modes and alternate scenarios end up very limited in scope. As a result, the 29,99€ price tag is tough to swallow in this economy and roster of regular releases.

It's difficult to adequately rate Skate Story, as the game constantly oscillates between wonderful musical moments and incredibly generic, open-world sections, creating a yo-yo effect on the overall quality graph. But since a rating is necessary, 7/10 seems to reasonably reflect my overall impression. Sam Eng offers controls that are both simple and comprehensive, with a well-designed tutorial system that constantly introduces new moves to master, allowing you to skip the less engaging moments and focus on the best parts. It's a visually striking game that's worth checking out.